pr_nachts_6_4c_gr.jpg nachts_4_2_gr.jpg pr_nachts_3_6_gr.jpg pr_nachts_4_3b_stef_gr.jpg pr_nachts_7_2_gr.jpg pr_nachts_6_4_stef_gr.jpg pr_nachts_6_4b_stef_gr.jpg pr_nachts_1_3_gr.jpg pr_nachts_3_2_gr.jpg nachts_6_1_gr.jpg pr_nachts_6_2_gr.jpg pr_nachts_2_5_gr.jpg pr_nachts_4_2b_gr.jpg pr_nachts_7_3_gr.jpg pr_nachts_3_3_gr.jpg pr_nachts_5_3_gr.jpg nachts_6_5_gr.jpg nachts_5_1_gr.jpg pr_nachts_6_6_gr.jpg pr_nachts_1_2_gr.jpg pr_nachts_2_3_gr.jpg pr_nachts_2_4_gr.jpg pr_nachts_4_1_gr.jpg nachts_3_1_gr.jpg pr_nachts_9_1b_stef_gr.jpg pr_nachts_9_5_gr.jpg pr_nachts_8_1_gr.jpg nachts_9_4_gr.jpg pr_nachts_8_2_gr.jpg pr_nachts_8_6_gr.jpg pr_nachts_7_1_gr.jpg pr_nachts_3_4_gr.jpg pr_nachts_3_5_gr.jpg pr_nachts_1_1_gr.jpg pr_nachts_4_4_gr.jpg nachts_8_3_gr.jpg pr_nachts_8_4_stef_gr.jpg pr_nachts_2_1_gr.jpg pr_nachts_9_3_stef_gr.jpg nachts_1_4_gr.jpg pr_nachts_8_5_gr.jpg pr_nachts_1_5_gr.jpg pr_nachts_7_6_gr.jpg pr_nachts_9_1_stef_gr.jpg pr_nachts_4_2c_stef_gr.jpg pr_nachts_5_2_gr.jpg pr_nachts_7_5_gr.jpg pr_nachts_7_4_gr.jpg pr_nachts_4_3_gr.jpg nachts_2_2_gr.jpg pr_nachts_4_3c_stef_gr.jpg pr_nachts_5_4_gr.jpg pr_nachts_8_5b_gr.jpg pr_nachts_6_3_gr.jpg

Opera Magazine, 23.5.2009 - Christopher Norton-Welsh

Vienna - Nachts Festival

Over the past ten years sireneOperntheater (sic) has devoted itself to giving the first performances of contemporary oepras. This year they are putting on a festival of chamber operas in a former bread factory - in its day the largest in Europe. Nine works are being given, each twice on successive weekends, all taken from the book of
short stories Nachts unter der steinernen Brücke (At night under the stone bridge) of old Prague revolving around Emperor Rudolf II and the famous “miracle rabbi” Löw by Leo Perutz, one of the most successful Austrian writers between the wars but who fell into oblivion in exile in Tel Aviv and never recovered before his death back in Austria in 1952. The works are not only linked by a common origin but,where possible, the same singers for the same characters. The series began with a work by René Clemencic, one of the Viennese pioneers of early music with his Clemencic Consort, taking the title of the book and dealing with the evil that can come from an act, ostensibly good but which upsets God’s balance. His attractive music for four solo strings, four brass and percussion was dominated by the percussion and melodies or chordal progressions from the brass, the vocal style being declamatory. The orchestra was set at the back and Jakob Scheid merely added a few characteristic pieces - Löw’s desk, Rudolf’s throne and Meidl’s shop - moved around by two hard-working stagehands. Kristine Tornquist, who also wrote the libretto,
provided a clear production and Markus Kuscher period costumes. The conductor, as for all but two of the works, which include one of his own, was François-Pierre Descamps and Dimitrij Soloviev, Armin Gramer, Rupert Bergmann, Romana Beutel, Johann Leutgeb and Petr Strnad were the competent singers.

Andere Kritiken